Thriller: A Cruel Picture
The eyepatch Tarantino copied. Contains real hardcore inserts and a real animal death.
An assault, then a reckoning. One of the most argued-about structures in film criticism.
A structure rather than a genre: an assault, then a systematic revenge.
This tag flags content, not quality. Films filed here contain extended sexual violence, and the blurbs say how each one handles it, because the range is enormous and the label alone tells you nothing.
The Virgin Spring (1960) is Bergman, adapted from a medieval ballad. Wes Craven acknowledged it as the source for The Last House on the Left (1972), which is far uglier and arguably loses the thread.
I Spit on Your Grave (1978) is the notorious case. Roger Ebert called it a vile bag of garbage. Carol Clover and later feminist critics argued that its refusal to make the assault watchable is exactly what separates it from the films it gets grouped with. Both readings come from the same footage.
The cycle peaked at the same moment as the video nasty panic, and most of these titles ended up on the DPP list.
The eyepatch Tarantino copied. Contains real hardcore inserts and a real animal death.
Pam Grier's arrival. Jack Hill knows exactly what he has.
Ferrara's best. Zoë Lund is extraordinary and the ending is a genuine image.
The most argued-about film on this site. Read the glossary entry before deciding.
Bergman's Virgin Spring, brutalised. Genuinely unpleasant and knows it. Tonally a mess.